I have read through this and re-read several times. I am understanding Dora's explanations pretty clearly and actively putting into use. (though my feet are small )I understand that while we each have our jobs (as a man and a woman) that we are equal in this partnership and power, in harmony. I also understand and can happily admit I relish my role as a woman and I like that I can "tease" what it is I want while he "thinks" it was his idea and intent from the get. (though mind you this is still all a work in progress ...)

I can see the diagram TangoDancer has written out clearly in my minds eye. I can actually picture myself standing there looking at this ruler and ball and in dance position (but modified, how?) I know this is on the tip of my consciousness, yet it is eluding me.

Logged

It is more important who they are as people and only then is it important who they are as dancers.~Marcia Haydee

It is not as elusive nor mystifying as it seems. truthfully, it is so simplistic that it is disappointing in its revelation, although very enlightening in its application.

Fristly, sorry EE, the stripes have naught to do with it. For those who can not visulaize the ball/ruler, draw a circle on a piece of paper (the ball); now draw a V around the ball with the point facing you exactly as you would when writing a capital V. Now make one side of the V a dashed line. My teacher told me that this is the essence of BR. The backstep not withstanding, when one partner dances in a straight line "past" the other, the other simply "rolls in place" to accommodate the movement. Depending on whether the intent if to dance natural or reverse will determine if the ruler inverts to the dashed line, or if the ball rolls down the edge of the ruler and around to the other side. The ruler always moves in direct and straight lines, and the ball always moves in rolling indirect straight lines. The partner who is driving the movement is in the ruler position...this might change many times throughout the dance.

I always enjoy sharing this because when one gets it, the flight and float of their smooth leaps up a couple of levels, but I must say that it is a h*** of a lot easier to teach in a workshop than in cyberspace. If you like, we'll keep working on it. if not, I won't be offended. I know that it is difficult.

Logged

The most beautiful part of the dance is often found in between the steps... and in the movement within the stillness.

I am learning to dance more on my own feet and to transfer my weight fully so that I am free to dance and to follow the next lead. But the question comes up: if you are dancing more independently how do you get led? A large part is what one might call 'aura' leading, you just feel what the man wants to do from the subtle connection with his entire body. However, I was introduced to a new comcept of hand leads - feeling shapes energy through the (my) right hand. Its totally new so I am not very good at it yet - but what a logical idea.

Sorry if someeone has covered this before but anyone want to expand on hand leads?

Definitely, the frame is independent of the hand lead - the latter is a subtle movement of the hand relatively to the frame.

I also learned about a slight R hand (lady) pressure - this helps my partner to lead me in reverse directions - such in PP coming out of an impetus DP has sometimes complained that I 'take him too much to the right'. I now understand why - there is no convenient way for him to lead me diag centre instead of towards line of dance without actually pulling on my R hand. If I maintain a slight pressure (and of course my shoulder towards partner) then he can go in any direction he chooses.